The Rooted Nomad
MF Husain
Maqbool Fida Husain (1915-2011), one of the most iconic contemporary
artists of India, continues to demand critical attention to his
multi-dimensional practice that embraced various media formats, defied
artistic hierarchies and displaced the divide between high and popular
art. The historical extent of India as one of the oldest civilizations
in human history and an independent nation-state that gained freedom
from colonial subjugation in 1947 , unfolded obsessively in M.F.
Husain’s prolific oeuvre. An expansive post-colonial consciousness
informed his practice, which involved adapting indigenous idioms in
his expression and breaking free from colonial indoctrination.
Seamlessly weaving together mythologies, shared histories, literature
and manifestations, Husain articulated his syncretic vision of a
modern India through a lexicon of symbolic iconographies anchored in a
secular artistic sensibility.
The exhibition title uses two opposing expressions ‘nomad’ and
‘rooted’ that counter each other but in conjunction, create an
imaginary panorama to deliberate the complex figure of Husain. His
nomadic predilection needs to be read through the peculiarities that
shaped his life. Much has been written about Husain ‘walking barefoot
across the nation’ and his pressing impulse to be on the streets, at
roadside cafes, sipping tea and reading the newspaper, stepping into
the lanes and by lanes of the city, sensing the pulse of the everyday,
painting amidst people, witnessing and fathoming the complex and
layered land called India. The breadth of experiences he gathered
evoke multiple journeys into time and place while moving across
borders and locations, ruminating on chosen constellations of his
works that dwell upon ideas of mobility and migration. Aligning to
that, the exhibition is an attempt to unpack expanded notions of the
‘yatra’(journey), as a crux to civilizational ethos, artistic calling
as well as a metaphor for transformation.
Resonating with the 2024 Venice Biennale’s theme of “Foreigners
Everywhere,” the dual format structure of the exhibition with
alternating scales, plays out the juxtapositions of the physical and
virtual presentation, a navigation between still and moving images,
with original artworks leading the viewers into a first-time immersive
on the artist.
In a fragmented world marked by increasing nomadic displacements,
people being deemed foreigners in their homelands, alienation and
exile, Husain’s art and life regain a pressing relevance.
